Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

This is Volume II in the three-volume catalogue raisonné of the drawings by Rubens covering the years 1609–20. The project is a collaboration between Anne-Marie Logan, to whom belong all the Rubens attributions, and Kristin Lohse Belkin. It is the first publication that presents the artist’s entire drawn oeuvre in chronological order, previous such publications containing only selections of drawings. By leafing through the illustrations, this arrangement offers the user a quick visual impression of the variety of techniques, media, subject matter and functions of Rubens’s drawings at any one time. Accordingly, Volume II consists of the drawings from the time of Rubens’s return from Italy and the establishment of his workshop in Antwerp to the completion of his contribution to the furnishing and decoration of the city’s new Jesuit church, today’s St. Charles Borromeo. The decade is characterized by a broad range of genres and iconography: large altarpieces stand next to cabinet-size pictures, book illustrations next to designs for tapestry, sculpture and architectural reliefs; religious, mythological and historical subjects alternate with allegories, portraits, exotic hunts and scenes from country life. Copies after other artists’ works that constitute such a large part of Rubens’s early years discussed in Volume I have given way to original inventions in pen and ink and, above all, by life studies in chalk of the human body, naked or dressed. The whole spectrum of Rubens’s extraordinary creativity, nowhere presented as directly and immediately as in his drawings, is there to be contemplated in all its astonishing diversity.Each entry consists of a detailed physical description of the drawing, provenance, exhibition history, full bibliography and a critical, interpretive discussion. All drawings by Rubens as well as a selection of comparative images are reproduced in color. It is the first publication that presents the artist’s entire drawn oeuvre in chronological order, previous such publications containing only selections of drawings. By leafing through the illustrations, this arrangement provides the user with a quick visual impression of the variety of techniques, media, subject and functions of Rubens’s drawings at any one time.Volume I consists of the drawings of the artist’s childhood, apprenticeship and first years as a master in Antwerp to his formative years in Italy, spent mostly in Mantua and Rome, with an excursion to Spain. These are the years primarily devoted to learning and absorbing the art of the past, from sixteenth-century German and Netherlandish prints to the works of the ancient and Italian Renaissance masters. A large number of these drawings consists of copies after the works of other artists, largely executed as part of the artistic training at the time.For the first time, Rubens’s copies and their models are not discussed and illustrated as a separate entity but are fully integrated into the rest of his graphic oeuvre, thus showing copies and original compositions created at the same time side by side. The volume contains 204 entries, including several sheets with drawings on recto and verso. Each entry consists of a detailed physical description of the drawing, provenance, exhibition history, full bibliography and a critical, interpretive discussion. In addition, Volume I contains an essay on the history of the scholarship of Rubens’s drawings, a subject that has not been treated before. All drawings by Rubens and the works by other artists he copied as well as a selection of other comparative images are reproduced in color.

Drawing, Flemish --- Drawing, Flemish. --- Rubens, Peter Paul, --- 1500-1699 --- Dessin. --- Rubens, Petrus Paulus --- Rubens, Peter Paul

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Rubens, Peter Paul, - Sir, - 1577-1640 --- Rubens family

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Art --- Rubens, Peter Paul --- Rubens, Peter Paul, --- Exposition --- Lille --- Peintres --- Peinture --- Rubens, Pierre Paul --- Rubens, --- Rubens, P. P. --- Rubens, Pierre-Paul, --- Rubens, Pieter Paul, --- Rubens, Pieter-Pauwel, --- Rubens, Pietro Paolo, --- רובנס, פטר פאול, --- Rubens, Pieter Paul --- Rubens --- Rubens, Pierre-Paul --- Rubens, Pieter-Pauwel --- Rubens, Pietro Paolo --- Exhibitions --- Rubens, Peter Paul, - 1577-1640 - Exhibitions --- Rubens, Peter Paul. --- Rubens, Peter Paul, - 1577-1640

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

"Presents information about Peter Paul Rubens and his Triumph of the Eucharist series, consisting of modelli (oil paintings on panel) and monumental tapestries. Essays discuss the history and the recent restoration of the panels and tapestries"--

tapestries --- Conservation. Restoration --- Triumph of the Eucharist [cycle] --- Applied arts. Arts and crafts --- Rubens, Peter Paul --- Painters --- Painting --- Painting, Baroque --- Peintres --- Peinture --- Peinture baroque --- Conservation and restoration --- Conservation et restauration --- Rubens, Peter Paul, --- Criticism and interpretation. --- Criticism and interpretation --- Rubens, Peter Paul, - 1577-1640. - Triumph of the Eucharist - Exhibitions --- Rubens, Peter Paul, - 1577-1640 - Criticism and interpretation --- Rubens, Peter Paul, - 1577-1640. - Triumph of the Eucharist --- Rubens, Peter Paul, - 1577-1640

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Painted altarpieces form an important and familiar part of Peter Paul Rubens?s substantial oeuvre. Much less widely known is the fact that Rubens?s involvement in such commissions sometimes went beyond the paintings themselves, and that he also designed sculptural framing and decorative surrounds for his patrons. There are several examples of designs by Rubens for sepulchral monuments too.00These altar surrounds and tombs belong to the category of ?architectural sculpture?, comprising the elements of the orders of architecture and their free application on the one hand, and monumental figurative or ornamental sculptural elements on the other. This was a visual language in which Rubens was especially well versed, and he drew on it not only in his paintings but also in his designs for tapestries, title-pages, book illustrations and ephemeral decorations.00Rubens?s designs for architectural sculpture were more than just a natural extension of his own artistic activities: they fulfilled a need in the design practice of the sculptors and architects of the period who executed the works. Hans van Mildert, for example, regularly turned to designs by his friend Rubens. Evidence is found in both Van Mildert?s own work and that of Rubens himself of a design and workshop practice with, at its core, a collection of models that represented the intellectual capital of each of the artists concerned.00The architectural sculpture that Rubens designed is also an expression and application of his personal views on art theory, which centred on the study of sculpture by painters and defined how they ought to render it in their own work. As elsewhere in his oeuvre, Rubens?s inspiration for the visual language he brought to bear in this area was frequently drawn from celebrated examples from antiquity and sixteenth-century Italy.

Rubens, Peter Paul --- Architecture --- Sculpture --- architectural ornament --- Rubens, Peter Paul, --- Architecture-sculpture --- Rubens, Petrus Paulus --- Rubens, --- Rubens, P. P. --- Rubens, Pierre-Paul, --- Rubens, Pieter Paul, --- Rubens, Pieter-Pauwel, --- Rubens, Pietro Paolo, --- רובנס, פטר פאול, --- Rubens, Peter Paul, - 1577-1640 - Catalogues raisonnés --- Architecture-sculpture. --- Rubens, Petrus Paulus, --- Rubens, Peter Paul, - 1577-1640